Posts Tagged ‘Emmanuelle’

Tomorrow night, my wife and I will be attending the Chicago Symphony’s Tribute to Roger Ebert, where orchestral selections will be played from many of Ebert’s favorite movies, including Casablanca,The Third Man, and 2001. This would be an exceptional evening in any case, but it’s especially meaningful to me, because Ebert, who is scheduled to be there in person, has had more influence on how I think about the movies than any other film critic, and more impact on my life than most writers of any kind. Which isn’t to say that we don’t often strongly disagree—you could start with his one-star review for Blue Velvet and work your way back from there. But a critic who always agrees with you isn’t much of a critic, and Ebert’s opinions, whether I share them or not, have been a central part of my life for as long as I’ve been able to read.

When I was seven years old, I stole Ebert’s Movie Home Companion from my parents’ bookshelf, and haven’t given it back since. Over time, my first copy, which would have been of this edition, grew so tattered that both the front and back covers fell off. (Judging from the discussion on this article on the AV Club, this wasn’t an uncommon occurrence.) I absorbed Ebert’s thoughts on Citizen Kane, The Godfather, Taxi Driver, and hundreds of other films years before I had the chance to see them myself, to the point where I’m often able to recognize a movie on television solely because I’ve memorized his review. His discussion of the Sight & Sound poll was my first exposure to the idea of an artistic canon, an idea that has guided much of my life ever since, for better or worse. And I certainly learned a lot from his reviews of such films as Emmanuelle and Caligula, even if I didn’t have the slightest idea what he was talking about.

The result was that—much the Bible and Pilgrim’s Progress did for George Bernard Shaw—Ebert’s reviews formed a sort of cultural bedrock in my brain, teaching me how to write and think, as well as how to watch movies. And it was through his work that I began to realize that the life of a critic is nothing less than the best possible excuse for an extended conversation with the world. When you consider the length of Ebert’s career—which runs from Bonnie and Clyde through The Social Network and beyond—it becomes obvious that no other writer of the past five decades has engaged with so many artists and cultural issues for such a large audience. And it’s no wonder that Ebert’s other published work, which ranges from walks in London to the Phantom of the Opera to the joys of the rice cooker, is so beguilingly diverse: after a lifetime spent on the front lines of the culture, he’s emerged as complete a human being as they come.

But his greatest legacy, of course, is what he’s taught us about the movies. Tomorrow, I’ll be looking more closely at Ebert’s reviews, which have profoundly influenced the way I think about all works of art. (In the meantime, here’s a classic article about his wonderful house.)